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Sonata FormIntroduction
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Identifying a Form
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Identifying a Form
The identification and study of sonata form is the work of many theorists, but two in particular stand out:
Carl Czerny
Adolf Bernhard Marx
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Carl Czerny
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Carl Czerny
1791-1857
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Carl Czerny
1791-1857
Student of Beethoven
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Carl Czerny
1791-1857
Student of Beethoven
Extremely influential piano teacher: pupils included
Liszt
Thalberg
Heller
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Adolf Bernhard Marx
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Adolf Bernhard Marx
1796-1866
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Adolf Bernhard Marx
1796-1866
Worked with Mendelssohn
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Adolf Bernhard Marx
1796-1866
Worked with Mendelssohn
Developed terminology still in use today such as liedform
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Czerny-Marx Model
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Czerny-Marx Model
Primarily a compositional, rather than analytical model
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Czerny-Marx Model
Primarily a compositional, rather than analytical model
An amalgam of the writings of both theorists
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Czerny-Marx Model
Primarily a compositional, rather than analytical model
An amalgam of the writings of both theorists
Neither Czerny nor Marx saw it as a “template”
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Czerny-Marx Model
Primarily a compositional, rather than analytical model
An amalgam of the writings of both theorists
Neither Czerny nor Marx saw it as a “template”
The form, as taught thereafter, tends to be presented as a kind of template anyway.
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Components
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Components Exposition
Presents the main material; ends in secondary key
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Components Exposition
Presents the main material; ends in secondary key
Development
Develops the material; moves from secondary to home key
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Components Exposition
Presents the main material; ends in secondary key
Development
Develops the material; moves from secondary to home key
Recapitulation
Re-presents the main material; ends in home key
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Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
Development
RetransitionDevelopment
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Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
Development
RetransitionDevelopment
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Basic Outline of the Exposition
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Basic Outline of the Exposition
The Primary Theme, or Group, in the tonic key opens the Exposition.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Basic Outline of the Exposition
The Primary Theme, or Group, in the tonic key opens the Exposition.
Usually at a restatement of the Primary Theme, we enter a transition which takes us from the primary key to the secondary key -- usually the dominant (major keys) or the relative major (minor keys.)
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Basic Outline of the Exposition
The Primary Theme, or Group, in the tonic key opens the Exposition.
Usually at a restatement of the Primary Theme, we enter a transition which takes us from the primary key to the secondary key -- usually the dominant (major keys) or the relative major (minor keys.)
The Secondary Theme, or Group, is stated in the secondary key.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Basic Outline of the Exposition
The Primary Theme, or Group, in the tonic key opens the Exposition.
Usually at a restatement of the Primary Theme, we enter a transition which takes us from the primary key to the secondary key -- usually the dominant (major keys) or the relative major (minor keys.)
The Secondary Theme, or Group, is stated in the secondary key.
Another quasi-transition can follow (but there is no modulation).
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Basic Outline of the Exposition
The Primary Theme, or Group, in the tonic key opens the Exposition.
Usually at a restatement of the Primary Theme, we enter a transition which takes us from the primary key to the secondary key -- usually the dominant (major keys) or the relative major (minor keys.)
The Secondary Theme, or Group, is stated in the secondary key.
Another quasi-transition can follow (but there is no modulation).
Finally, a Closing Theme (usually less obviously melodic than either Primary or Secondary themes) is stated, and the Exposition ends in the secondary key.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Basic Outline of the Exposition
The Primary Theme, or Group, in the tonic key opens the Exposition.
Usually at a restatement of the Primary Theme, we enter a transition which takes us from the primary key to the secondary key -- usually the dominant (major keys) or the relative major (minor keys.)
The Secondary Theme, or Group, is stated in the secondary key.
Another quasi-transition can follow (but there is no modulation).
Finally, a Closing Theme (usually less obviously melodic than either Primary or Secondary themes) is stated, and the Exposition ends in the secondary key.
The Exposition may then be repeated.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Basic Outline of the Development
Development
RetransitionDevelopment
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Basic Outline of the Development
The Development works with the material from the Exposition, re-combining it, varying it, and stating it in various key centers and modes.
Development
RetransitionDevelopment
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Basic Outline of the Development
The Development works with the material from the Exposition, re-combining it, varying it, and stating it in various key centers and modes.
Eventually the Development enters a passage which strongly points towards an arrival into the original key center -- this is known as the “Retransition”.
Development
RetransitionDevelopment
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Basic Outline of the Development
The Development works with the material from the Exposition, re-combining it, varying it, and stating it in various key centers and modes.
Eventually the Development enters a passage which strongly points towards an arrival into the original key center -- this is known as the “Retransition”.
The end of the Development is simultaneous with the beginning of the Recapitulation.
Development
RetransitionDevelopment
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Basic Outline of the Development
The Development works with the material from the Exposition, re-combining it, varying it, and stating it in various key centers and modes.
Eventually the Development enters a passage which strongly points towards an arrival into the original key center -- this is known as the “Retransition”.
The end of the Development is simultaneous with the beginning of the Recapitulation.
There is no set form for the Development.
Development
RetransitionDevelopment
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Basic Outline of the Recapitulation
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Basic Outline of the Recapitulation
In its most basic form, the Recapitulation will have the same order of events as the Exposition.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Basic Outline of the Recapitulation
In its most basic form, the Recapitulation will have the same order of events as the Exposition.
The first major change comes at the first transition, which instead of modulating to the secondary key, remains in the home key.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Basic Outline of the Recapitulation
In its most basic form, the Recapitulation will have the same order of events as the Exposition.
The first major change comes at the first transition, which instead of modulating to the secondary key, remains in the home key.
The Secondary Theme/Group and Closing Theme are then stated in the home key, rather than in the secondary key.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Basic Outline of the Recapitulation
In its most basic form, the Recapitulation will have the same order of events as the Exposition.
The first major change comes at the first transition, which instead of modulating to the secondary key, remains in the home key.
The Secondary Theme/Group and Closing Theme are then stated in the home key, rather than in the secondary key.
A Coda may or may not follow the Closing Theme.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Basic Outline of the Recapitulation
In its most basic form, the Recapitulation will have the same order of events as the Exposition.
The first major change comes at the first transition, which instead of modulating to the secondary key, remains in the home key.
The Secondary Theme/Group and Closing Theme are then stated in the home key, rather than in the secondary key.
A Coda may or may not follow the Closing Theme.
May Classical-era Sonata Form moves mark the Development/Recapitulation section of a sonata form work to be repeated. In practice, that repeat is often skipped.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Exposition
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Exposition
1. Transition: there may be no actual transition, but a bifocal close instead.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Exposition
1. Transition: there may be no actual transition, but a bifocal close instead.2. Transition: the transition may explore a new key center (the so-called three-key Exposition).
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Exposition
1. Transition: there may be no actual transition, but a bifocal close instead.2. Transition: the transition may explore a new key center (the so-called three-key Exposition).3. Transition: transitions can sound like secondary groups, challenging the listener to distinguish between the two.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Exposition
1. Transition: there may be no actual transition, but a bifocal close instead.2. Transition: the transition may explore a new key center (the so-called three-key Exposition).3. Transition: transitions can sound like secondary groups, challenging the listener to distinguish between the two.
4. Secondary Theme: it may be the same as the Primary Theme, or closely related.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Exposition
1. Transition: there may be no actual transition, but a bifocal close instead.2. Transition: the transition may explore a new key center (the so-called three-key Exposition).3. Transition: transitions can sound like secondary groups, challenging the listener to distinguish between the two.
4. Secondary Theme: it may be the same as the Primary Theme, or closely related.5. Secondary Theme: the point of arrival at the Secondary Theme may be ambiguous.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Exposition
1. Transition: there may be no actual transition, but a bifocal close instead.2. Transition: the transition may explore a new key center (the so-called three-key Exposition).3. Transition: transitions can sound like secondary groups, challenging the listener to distinguish between the two.
4. Secondary Theme: it may be the same as the Primary Theme, or closely related.5. Secondary Theme: the point of arrival at the Secondary Theme may be ambiguous.6. Secondary Theme: there may be little harmonic stability in the Secondary Group, not to be resolved until the arrival at the Closing Group.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Exposition
1. Transition: there may be no actual transition, but a bifocal close instead.2. Transition: the transition may explore a new key center (the so-called three-key Exposition).3. Transition: transitions can sound like secondary groups, challenging the listener to distinguish between the two.
4. Secondary Theme: it may be the same as the Primary Theme, or closely related.5. Secondary Theme: the point of arrival at the Secondary Theme may be ambiguous.6. Secondary Theme: there may be little harmonic stability in the Secondary Group, not to be resolved until the arrival at the Closing Group.
7. Closing Group: there may be no Closing Group.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Exposition
1. Transition: there may be no actual transition, but a bifocal close instead.2. Transition: the transition may explore a new key center (the so-called three-key Exposition).3. Transition: transitions can sound like secondary groups, challenging the listener to distinguish between the two.
4. Secondary Theme: it may be the same as the Primary Theme, or closely related.5. Secondary Theme: the point of arrival at the Secondary Theme may be ambiguous.6. Secondary Theme: there may be little harmonic stability in the Secondary Group, not to be resolved until the arrival at the Closing Group.
7. Closing Group: there may be no Closing Group.8. Closing Group: the Closing Theme may resemble the Secondary Theme, or be an altered restatement of the Primary Theme.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Exposition
1. Transition: there may be no actual transition, but a bifocal close instead.2. Transition: the transition may explore a new key center (the so-called three-key Exposition).3. Transition: transitions can sound like secondary groups, challenging the listener to distinguish between the two.
4. Secondary Theme: it may be the same as the Primary Theme, or closely related.5. Secondary Theme: the point of arrival at the Secondary Theme may be ambiguous.6. Secondary Theme: there may be little harmonic stability in the Secondary Group, not to be resolved until the arrival at the Closing Group.
7. Closing Group: there may be no Closing Group.8. Closing Group: the Closing Theme may resemble the Secondary Theme, or be an altered restatement of the Primary Theme.9. Closing Group: the Closing Theme may lead directly into a transitional passage that either leads back to the beginning of the Exposition, or forward into the Development.
Primary Group (I)
Secondary Group (V) Closing Group (V)Transition
Exposition
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Objections: Development
Development
RetransitionDevelopment
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Objections: Development
1. The Development may have the same overall structure as the Exposition.
Development
RetransitionDevelopment
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Objections: Development
1. The Development may have the same overall structure as the Exposition.2. The Development may feature “false” or “premature” recapitulations.
Development
RetransitionDevelopment
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Objections: Development
1. The Development may have the same overall structure as the Exposition.2. The Development may feature “false” or “premature” recapitulations.3. The Development may not “develop” at all, but may consist partly, or largely, or newly-composed material.
Development
RetransitionDevelopment
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Objections: Development
1. The Development may have the same overall structure as the Exposition.2. The Development may feature “false” or “premature” recapitulations.3. The Development may not “develop” at all, but may consist partly, or largely, or newly-composed material.4. The Development may not even exist! (i.e., There may be no development at all.)
Development
RetransitionDevelopment
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Objections: Development
1. The Development may have the same overall structure as the Exposition.2. The Development may feature “false” or “premature” recapitulations.3. The Development may not “develop” at all, but may consist partly, or largely, or newly-composed material.4. The Development may not even exist! (i.e., There may be no development at all.)
5. Retransition: there may be no clear retransition, but a blurred distinction between development and recapitulation.
Development
RetransitionDevelopment
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Objections: Recapitulation
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Recapitulation
1. Structure: the Recapitulation may be relatively free in structure, not really following either the Exposition or the Development.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Recapitulation
1. Structure: the Recapitulation may be relatively free in structure, not really following either the Exposition or the Development.
2. Primary Theme: it may be skipped altogether, or if there are multiple themes, may begin with 2P or later.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Recapitulation
1. Structure: the Recapitulation may be relatively free in structure, not really following either the Exposition or the Development.
2. Primary Theme: it may be skipped altogether, or if there are multiple themes, may begin with 2P or later.3. Transition: may be skipped altogether, depending upon the construction of the Exposition.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Recapitulation
1. Structure: the Recapitulation may be relatively free in structure, not really following either the Exposition or the Development.
2. Primary Theme: it may be skipped altogether, or if there are multiple themes, may begin with 2P or later.3. Transition: may be skipped altogether, depending upon the construction of the Exposition.4. Transition: may give way to a ‘secondary development’.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Recapitulation
1. Structure: the Recapitulation may be relatively free in structure, not really following either the Exposition or the Development.
2. Primary Theme: it may be skipped altogether, or if there are multiple themes, may begin with 2P or later.3. Transition: may be skipped altogether, depending upon the construction of the Exposition.4. Transition: may give way to a ‘secondary development’.6. Secondary Group: the Recapitulation may begin with the Secondary Group instead of the Primary.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Recapitulation
1. Structure: the Recapitulation may be relatively free in structure, not really following either the Exposition or the Development.
2. Primary Theme: it may be skipped altogether, or if there are multiple themes, may begin with 2P or later.3. Transition: may be skipped altogether, depending upon the construction of the Exposition.4. Transition: may give way to a ‘secondary development’.6. Secondary Group: the Recapitulation may begin with the Secondary Group instead of the Primary.7. Secondary Group: in minor keys, the Secondary Group may be transposed into the parallel major (instead of leaving it in the original minor.)
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Recapitulation
1. Structure: the Recapitulation may be relatively free in structure, not really following either the Exposition or the Development.
2. Primary Theme: it may be skipped altogether, or if there are multiple themes, may begin with 2P or later.3. Transition: may be skipped altogether, depending upon the construction of the Exposition.4. Transition: may give way to a ‘secondary development’.6. Secondary Group: the Recapitulation may begin with the Secondary Group instead of the Primary.7. Secondary Group: in minor keys, the Secondary Group may be transposed into the parallel major (instead of leaving it in the original minor.)8. Closing Group: the Closing Theme/Group may be a restatement of the primary theme, or may be so highly altered as to be unrecognizable.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Recapitulation
1. Structure: the Recapitulation may be relatively free in structure, not really following either the Exposition or the Development.
2. Primary Theme: it may be skipped altogether, or if there are multiple themes, may begin with 2P or later.3. Transition: may be skipped altogether, depending upon the construction of the Exposition.4. Transition: may give way to a ‘secondary development’.6. Secondary Group: the Recapitulation may begin with the Secondary Group instead of the Primary.7. Secondary Group: in minor keys, the Secondary Group may be transposed into the parallel major (instead of leaving it in the original minor.)8. Closing Group: the Closing Theme/Group may be a restatement of the primary theme, or may be so highly altered as to be unrecognizable.
9. Coda: not required. In many of Haydn’s mature works, it is virtually impossible to distinguish as coda from the main body of the recapitulation.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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Objections: Recapitulation
1. Structure: the Recapitulation may be relatively free in structure, not really following either the Exposition or the Development.
2. Primary Theme: it may be skipped altogether, or if there are multiple themes, may begin with 2P or later.3. Transition: may be skipped altogether, depending upon the construction of the Exposition.4. Transition: may give way to a ‘secondary development’.6. Secondary Group: the Recapitulation may begin with the Secondary Group instead of the Primary.7. Secondary Group: in minor keys, the Secondary Group may be transposed into the parallel major (instead of leaving it in the original minor.)8. Closing Group: the Closing Theme/Group may be a restatement of the primary theme, or may be so highly altered as to be unrecognizable.
9. Coda: not required. In many of Haydn’s mature works, it is virtually impossible to distinguish as coda from the main body of the recapitulation.10. Coda: the Coda may occur within the recapitulation -- especially immediately before the Closing Group.
Primary Group (I) Secondary Group (I) Closing Group (I)
Transition
Coda
Recapitulation
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The “Sonata Principle”
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The “Sonata Principle”
Material is stated in two key centers—primary and secondary.
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The “Sonata Principle”
Material is stated in two key centers—primary and secondary.
Material stated originally in the secondary key center is treated as a large-scale dissonance, or instability.
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The “Sonata Principle”
Material is stated in two key centers—primary and secondary.
Material stated originally in the secondary key center is treated as a large-scale dissonance, or instability.
Before the work ends, the important material originally stated in the secondary key must be restated in the primary key, to achieve balance.
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Sonata as Hegelian
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Sonata as Hegelian
Thesis: the primary key and its material
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Sonata as Hegelian
Thesis: the primary key and its material
Antithesis: the secondary key and its material
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Sonata as Hegelian
Thesis: the primary key and its material
Antithesis: the secondary key and its material
Synthesis: the resolution of the secondary key material into the primary key.
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Analyzing Sonata Form
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Analyzing Sonata Form
Jan LaRue analysis symbols for sonata form
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Analyzing Sonata Form
Jan LaRue analysis symbols for sonata form
From “Guidelines for Style Analysis”
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Analyzing Sonata Form
Jan LaRue analysis symbols for sonata form
From “Guidelines for Style Analysis”
Have become a common language for sonata-form discussion.
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LaRue Symbols
P Primary ThemeT Transitional ThemeS Secondary ThemeK Closing Theme
O Introductory MaterialN New material occuring after the ExpositionQ Questionable functions, ambiguous
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LaRue Symbols
a, b, c, etc. Phrases or smaller-dimension functionsx, y, z, etc. Following a, b, c, etc., indicate motivic levels.1P, 2S, etc. Before the indicator: constituent themesP , S Superscript indicates variantsP Closing function apparentS(1P) Derivation: S is derived from 1P> Further derivation: K(1S>2P) indicates that K is derived from 1S, in turn derived from 2Pr Isolates the rhythmic element of a themeh Isolates the harmonic element of a theme.
1 2
k
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LaRue Symbols
2+2 Indicates two phrases of 2 measures each4x2 Indicates two repetitions of a 4-measure unit: read as 4 measures times 2.
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LaRue Symbols
1Pax First phrase of first primary theme, employing motive ‘x’2T(2Pb) Second transitional theme, derived from the second phrase of the secondary primary theme.
2S (1Pr) Second secondary theme, with a closing function, derived from the rhythm of the first primary theme.
2P First variant of the second primary theme.
k
1
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A LaRue-Style Sonata-Form Graph
Exposition
Pa b 1T(Pa) 2T 3Tk Sa b c K(Pa)
7 11 14 21 27 35 40 43 44
4 3 2 x 3 + 1 2 x 2 + 2 2 + 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Solo Tutti
Flt. Ob. Strings
I V
Development
Pa b1 3Tk N Q(P) retransition
48 52 55 58 73 85
4 3 3 8 + 7 12 2
Solo Tutti Solo Tutti Solo
Flt. Ob. Strings Horn
vi V/I
Recapitulation
Pa b 1T(Pa) 3Tk Sa b c K(Pa)
87 91 94 100 106 111 114 115
4 3 2 x 3 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Tutti
Flt. Ob.
I I
: :
:
:
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A LaRue-Style Sonata-Form Graph
Uppermost line: analytical symbols
Exposition
Pa b 1T(Pa) 2T 3Tk Sa b c K(Pa)
7 11 14 21 27 35 40 43 44
4 3 2 x 3 + 1 2 x 2 + 2 2 + 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Solo Tutti
Flt. Ob. Strings
I V
Development
Pa b1 3Tk N Q(P) retransition
48 52 55 58 73 85
4 3 3 8 + 7 12 2
Solo Tutti Solo Tutti Solo
Flt. Ob. Strings Horn
vi V/I
Recapitulation
Pa b 1T(Pa) 3Tk Sa b c K(Pa)
87 91 94 100 106 111 114 115
4 3 2 x 3 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Tutti
Flt. Ob.
I I
: :
:
:
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A LaRue-Style Sonata-Form Graph
Middle line: measure numbers
Exposition
Pa b 1T(Pa) 2T 3Tk Sa b c K(Pa)
7 11 14 21 27 35 40 43 44
4 3 2 x 3 + 1 2 x 2 + 2 2 + 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Solo Tutti
Flt. Ob. Strings
I V
Development
Pa b1 3Tk N Q(P) retransition
48 52 55 58 73 85
4 3 3 8 + 7 12 2
Solo Tutti Solo Tutti Solo
Flt. Ob. Strings Horn
vi V/I
Recapitulation
Pa b 1T(Pa) 3Tk Sa b c K(Pa)
87 91 94 100 106 111 114 115
4 3 2 x 3 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Tutti
Flt. Ob.
I I
: :
:
:
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A LaRue-Style Sonata-Form Graph
Lower line: phrase divisions by measure
Exposition
Pa b 1T(Pa) 2T 3Tk Sa b c K(Pa)
7 11 14 21 27 35 40 43 44
4 3 2 x 3 + 1 2 x 2 + 2 2 + 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Solo Tutti
Flt. Ob. Strings
I V
Development
Pa b1 3Tk N Q(P) retransition
48 52 55 58 73 85
4 3 3 8 + 7 12 2
Solo Tutti Solo Tutti Solo
Flt. Ob. Strings Horn
vi V/I
Recapitulation
Pa b 1T(Pa) 3Tk Sa b c K(Pa)
87 91 94 100 106 111 114 115
4 3 2 x 3 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Tutti
Flt. Ob.
I I
: :
:
:
![Page 89: Sonata Form - SFCM Musicianship and Music · PDF fileIdentifying a Form! The identiÞcation and study of sonata form is the work of many theorists, but two in particular stand out:!](https://reader030.vdocuments.us/reader030/viewer/2022013005/5a76b3bb7f8b9a1b688d74ad/html5/thumbnails/89.jpg)
A LaRue-Style Sonata-Form Graph
Below the gray line divider: notes (in this case about orchestration)
Exposition
Pa b 1T(Pa) 2T 3Tk Sa b c K(Pa)
7 11 14 21 27 35 40 43 44
4 3 2 x 3 + 1 2 x 2 + 2 2 + 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Solo Tutti
Flt. Ob. Strings
I V
Development
Pa b1 3Tk N Q(P) retransition
48 52 55 58 73 85
4 3 3 8 + 7 12 2
Solo Tutti Solo Tutti Solo
Flt. Ob. Strings Horn
vi V/I
Recapitulation
Pa b 1T(Pa) 3Tk Sa b c K(Pa)
87 91 94 100 106 111 114 115
4 3 2 x 3 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Tutti
Flt. Ob.
I I
: :
:
:
![Page 90: Sonata Form - SFCM Musicianship and Music · PDF fileIdentifying a Form! The identiÞcation and study of sonata form is the work of many theorists, but two in particular stand out:!](https://reader030.vdocuments.us/reader030/viewer/2022013005/5a76b3bb7f8b9a1b688d74ad/html5/thumbnails/90.jpg)
A LaRue-Style Sonata-Form Graph
Bottom: harmonic sketch (in this case limited to the two key planes.)
Exposition
Pa b 1T(Pa) 2T 3Tk Sa b c K(Pa)
7 11 14 21 27 35 40 43 44
4 3 2 x 3 + 1 2 x 2 + 2 2 + 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Solo Tutti
Flt. Ob. Strings
I V
Development
Pa b1 3Tk N Q(P) retransition
48 52 55 58 73 85
4 3 3 8 + 7 12 2
Solo Tutti Solo Tutti Solo
Flt. Ob. Strings Horn
vi V/I
Recapitulation
Pa b 1T(Pa) 3Tk Sa b c K(Pa)
87 91 94 100 106 111 114 115
4 3 2 x 3 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Tutti
Flt. Ob.
I I
: :
:
:
![Page 91: Sonata Form - SFCM Musicianship and Music · PDF fileIdentifying a Form! The identiÞcation and study of sonata form is the work of many theorists, but two in particular stand out:!](https://reader030.vdocuments.us/reader030/viewer/2022013005/5a76b3bb7f8b9a1b688d74ad/html5/thumbnails/91.jpg)
Exposition
Pa b 1T(Pa) 2T 3Tk Sa b c K(Pa)
7 11 14 21 27 35 40 43 44
4 3 2 x 3 + 1 2 x 2 + 2 2 + 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Solo Tutti
Flt. Ob. Strings
I V
Development
Pa b1 3Tk N Q(P) retransition
48 52 55 58 73 85
4 3 3 8 + 7 12 2
Solo Tutti Solo Tutti Solo
Flt. Ob. Strings Horn
vi V/I
Recapitulation
Pa b 1T(Pa) 3Tk Sa b c K(Pa)
87 91 94 100 106 111 114 115
4 3 2 x 3 3 x 2 1 x 5 1 x 3 1 4
Solo Tutti Tutti
Flt. Ob.
I I
: :
:
:
A LaRue-Style Sonata-Form Graph
In the graph as a whole, note that care has been taken to align similar materials—suchas the locations of the materials in Exposition and Recapitulation, but also in the Developmentwhere such alignment might be appropriate.
![Page 92: Sonata Form - SFCM Musicianship and Music · PDF fileIdentifying a Form! The identiÞcation and study of sonata form is the work of many theorists, but two in particular stand out:!](https://reader030.vdocuments.us/reader030/viewer/2022013005/5a76b3bb7f8b9a1b688d74ad/html5/thumbnails/92.jpg)
A LaRue-Style Sonata-Form Graph with Harmonic Reduction
! ""Exposition
Haydn: Symphony No. 6 in D Major (Le Matin)Analytic Sketch of the First Movement (Allegro)
47Pa
SoloFlt. Ob.
11b
3141T(Pa)
Tutti
2 x 3 + 1 2 x 2 + 2212T
SoloStrings
Tutti
2 + 3 x 2
3T27
k
1 x 5
Sa35
b401 x 3
43c
1
K(Pa)444
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! ""Development
48Pa
4
SoloFlt. Ob.
52b
3
1
553T
3
Tutti
k
58N
8 + 7
SoloStrings
73Q(P)
12
Tutti SoloHorn
retransition852
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A:( ) I
# $ # $$ $& $$ $" $ $" $& $$$
D:
$
viii
$ $$$$$
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#
Recapitulation
874
SoloFlt. Ob.
Pa91b
3
1T(Pa)
Tutti
942 x 3
1003 x 2
3T
Tutti
k
106Sa
1 x 51111 x 3
b114c
11154
K(Pa)
#""!""
I
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$53
$
V
64 53
$6
$ $64
V
53
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#º7
$7
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![Page 93: Sonata Form - SFCM Musicianship and Music · PDF fileIdentifying a Form! The identiÞcation and study of sonata form is the work of many theorists, but two in particular stand out:!](https://reader030.vdocuments.us/reader030/viewer/2022013005/5a76b3bb7f8b9a1b688d74ad/html5/thumbnails/93.jpg)